Vivaldi: Griselda (Vivaldi Edition)

The star of this performance is undoubtedly Marie-Nicole Lemieux. Her singing is full of fire, passion and feelings. The orchestra and conductor also contribute vivid colours and the performance sounds stylish. I personally may question one or two choices among the singers, but as a whole this is a nice set.

Singing baroque must be a test of skills for any singer, and singing Vivaldi must be a challenge that few take. Bravo for those singers like the cast of Griselda that still preserve and continue to grow this art. In Griselda, Vivaldi seems to have raised the bar higher, and taken fancy to montage voice onto overtures, and the result is quite fantastic and challenging for any singer. And no wonder, Griselda gave birth to some of Vivaldi's greatest and finest such as "Agitata", "Sento che L'Alma", "Dopo un'Orrida", and "Se Ria Procella". If the vocals are suppressed from some arias, the result is a sinfonia that stands alone quite beautifully too. Needless to say, the degree of technical difficulty is enough to make or break a singer. Casting a tenor for the role Gualtiero was clearly a great artistic call. It's refreshing. It works! Previous performances of this opera had only female voices. Not only does he get two of the most beautiful arias in the opera, but also Stefano Ferrari as Gualtiero gives a very whimsical performance in a vocal register rarely found in Vivaldi operas, the tenor. In "Sento che L'Alma teme", Stefano captures the psychological mood of the aria right on, and conveys the affliction, fear, and fright of the character. He also measures up to the task of singing coloratura and runs typically written for the heroines and villainesses in a way that sounds natural as charismatic for a male singer. His diction is fast and immaculate, never sacrificed for speed in the allegro or presto arias. Great performance!

Excellent performances together with a good recording

Perfect deal

I am not generally a major fan of baroque opera -- call me a Philistine! -- but I've been hooked by the spate of releases from the French label, Naïve, which, when it is finished, will present in 100 CD sets all of Vivaldi's works found in his music library at his death. And this includes all 49 of his operas! I was intrigued by this one because it tells the tale of 'patient Griselda' whose story comes down to us from folklore as retold in Bocaccio's Decameron and, more familiarly, in the 'Clerk's Tale' from Chaucer's Canterbury Tales. It's the story of a wife who displays incredible patience in the face of the many cruel tests of her loyalty that her husband puts her through. No need to retell that story here -- except to say that Vivaldi and his librettist Apostolo Zeno (with some revision by Carlo Goldoni) soften the villainy of the husband, Gualtiero.The music Vivaldi provides is really more a showcase for some incredible singing and abundantly satisfying music. And that is in this performance in abundance. There is some almost superhuman coloratura on display here, and there is not a single weak performance. Outstanding in the title role is the rising Canadian mezzo (although she's listed in the booklet as a contralto), Marie-Nicole Lemieux. I've been quite impressed by her recordings, mostly on Canadian labels, with the exception of the one that featured music by Brahms. Lemieux is definitely more suited to baroque music and here she is simply sensational. Her 'Brami le mie catene' in Act I is a real showpiece with sudden starts and stops, dramatic outbursts alternating with meltingly beautiful cantilena. Just as fine is her Act II scena, 'No, non tanto crudeltà'. Argentinian soprano Verónica Cangemi as Griselda's long-lost daughter Constanza is equally superb. Her second act aria, 'Agitata a due venti', is simply stunning. Simone Kermes is excellent as Griselda's rejected suitor, Ottone, and is especially notable for her management of the awkward register shifts in her Act III showpiece, 'Dopo un'orrida procella'. Tenor Stefano Ferrari is excellent as the husband, Gualtiero, although some of the incredibly difficult fioriture in his opening aria, 'Se ria procella', almost gets away from him. Countertenor Iestyn Davies delivers Corrado's Act II 'La rondinella amante' beautifully.All of this would less effective if it weren't for the really superb orchestra, Ensemble Matheus, under conductor Jean-Christophe Spinosi's alert and sensitive guidance. The sound of the original-instruments orchestra is suitably dulcet or dramatic as required. All in all this is one of the best baroque opera recordings I've ever heard. I recommend it unhesitatingly, even for those who think they don't like baroque opera.Scott Morrison

I'm a newcomer to baroque opera and vivaldi. I now own five of his operas with Griselda being the latest. I must say I absolutely love this opera. Lemieux, Cangemi and Jarousky are superb. The coloratura is to die for and the orchestral playing is first class. Very exciting. I'm very passionate about singing, being a tenor myself and mainly singing the Mozart, Puccini, Donezetti, Verdi repertoire which is full of drama, but this is some fierce stuff. Its so refreshing to hear a tenor in this recording apart from all the "high" voices which could be a little texturally monotinous, and tenor Stephano Ferrari does a wonderful job with this demanding score. The act II trio is sublime and all the arias belonging to Cangemi and Kermes is total "madness" which I love. I would love it if Naive issue a dvd with their recording giving us a taste of these fine musicians working hard in the studio, at these operas for our enjoyment. [...]

Last year I started to discover Vivaldi operas...I found a little gem (Il Teuzzioni...on different label) at a local CD store in San Francisco and that was the beginning of my goal of getting all the Vivaldi operas that this label puts out. Yeah, we all know the Four Seasons but Vivaldi was MUCH MUCH more than four concerti out of a set of twelve. If you are curious about other Vivaldi works, love opera or vocal music or just want to give it a try...you won't be disappointed. The playing is on period instruments (which I love), the vocalists have a lovely clarity, there are some arias that if they don't bring tears to your eyes, you will certainly come close. They are such that let you know that Vivaldi really was close to God and She gave him a gift to share with the world more than 200 years later.